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NashvilleMix Opens New Facility with Carl Tatz Design MixRoom™ Concept

- Engineer/Producer Eric Brengle chooses Carl Tatz Design MixRoom™ turnkey control room solution for his new studio, featuring the acclaimed PhantomFocus™ System (PFS™), for ultimate monitoring performance at an affordable price -

Nashville, TN: Nashville pop/rock engineer/producer and NashvilleMix owner Eric Brengle had two goals in mind when he contacted TEC award-nominated Carl Tatz to design his new personal recording studio. “First I needed accurate monitoring so that I wouldn’t have to second guess my mixes all the time, and secondly I needed my room to make a professional impression when clients came over to work,” recalls Brengle. “I knew that the MixRoom™ would look serious based on the many studio photos on Carl’s website, and I even knew how amazing his PhantomFocus™ System (PFS™) sounded, having auditioned one at another of Carl’s studios. However, it’s a whole different ball of wax when you experience a MixRoom in your own space that you’ve been struggling with for a long time. The MixRoom is absolutely remarkable – it turned my 12′ x 13′ x 9′ funky little room into the state-of-the-art monitoring environment.”

The revolutionary MixRoom concept pairs the Carl Tatz Signature Series™ acoustic modules by Auralex® with the unrivaled accuracy of the PhantomFocus System monitor tuning protocol. It has dramatically simplified control room design and renders the highest performance at a fraction of the cost of Carl Tatz Design’s custom work, making a world-class control room affordable to many more audio professionals. “We’re very exited about these new rooms, and we’re designing more and more of them across the country in commercial, personal and educational facilities,” explains Carl Tatz of the Carl Tatz Design (CTD) firm and creator of the PhantomFocus System. “They are a perfect fit in many applications where budget is limited yet expectations are high.”

“It’s a difficult thing to describe”‘ says Brengle, “because most engineers have never been able to hear complete sonic accuracy from 20Hz-to-20kHz before without fighting room modes, boundary effects and console reflections. Looking back I feel like I was mixing with only a three-pack of Crayola Crayons, but now I’ve got the entire spectrum to work with, which is so much more exciting. There’s no place for frequencies to hide, so my mixes come together better and faster. People need to know about this”.

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